ARTLINES

Women’s Caucus for Art • 2018 Winter Edition

Cover: clockwise from top left: Renée Stout, self portrait; Gloria Orenstein, photo credit: Sophie Carman; Lee Bontecou, photo credit: Joan Banach; Lynn Hershman Leeson, photo credit: Katherine McMahon. Back cover: Renée Stout, Soul Catcher/Regenerator, Found wire, wood construction, metal, acrylic paint, found table and vintage technology, 96 x 50 x 18 inches, (2014-2015). Design by Danielle Eubank, WCA Director. Edited by Susan King, Margo Hobbs and Sandra Mueller.

President’s Awards for Art and ActivismAmelia Jones and Kathy Gallegos

As President of the Women’s Caucus for Art, it is a great honor to award feminist art historian Amelia Jones and gallery founder Kathy Gallegos for their commitment to the mission of WCA—to create community through art, education, and social activism. Both have worked tirelessly, Kathy at community and state levels and Amelia more broadly, to expand opportunities and recognition of previously marginalized artists and their art. I hope you’ll join us on February 24 in Los Angeles to celebrate their successes! Susan M. King, Ph.D

Amelia Jones is the Robert A. Day Professor at the Roski School of Art and Design at University of Southern California. A feminist curator and a theorist and historian of art and performance, her recent publications include Seeing Differently: A History and Theory of Identification and the Visual Arts (2012), Perform Repeat Record: Live Art in History

(2012), co-edited with Adrian Heathfield, the edited volume Sexuality (2014), and, co-edited with Erin Silver, Otherwise: Imagining Queer Feminist Art Histories (2016). Her exhibition Material Traces: Time and the Gesture in Contemporary Art took place in 2013 in Montreal and she programmed the events Trans-Montréal (2015) in that city, followed by a related

publication “On Trans/Performance,” a special issue of Performance Research (2016). Her Live Artists Live performance and conference program took place

at USC in 2016. Jones is currently working on a retrospective of the work of Ron Athey and a book tentatively entitled Intimate Relations: A Critical Genealogy of Queer / Performance.

Kathy Gallegos founded Avenue 50 Studio, Inc., a nonprofit arts presentation organization located in the Los Angeles neighborhood of Highland Park, “to build bridges of cultural understanding through artistic expressions.” Since 2000, she has served as the gallery’s Founding Executive and Artistic Director. Previously along with Barbara Carrasco, Yreina Cervantez and Francisco Letelier, she created a mural at the Plaza De las Madres in Managua, Nicaragua. In 1995-96, she painted and taught herself B&W photographic darkroom techniques in Honduras. In 1996, she taught teens photography, operated the gift shop, and organized exhibitions at the Aztlan Cultural Arts Center in LA’s Lincoln Heights neighborhood. In fall 2014, Governor Jerry Brown appointed her to sit as a Council Member on the Board of the California Arts Council.

Amelia Jones Photo credit: Paul C. Donald

Kathy GallegosPhoto credit: Jessica Rocha

www.nationalwca.orgThe mission of the Women’s Caucus for Art is to create community through art, education and social activism.

WE ARE COMMITTED TO:

Recognizing the contributions of women in the arts

Providing women with leadership opportunities and professional development

Expanding networking and exhibition opportunities for women

Supporting local, national and global art activism

Advocating for equity in the arts for all

Lifetime Achievement Awards

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WCA Lifetime Achievement HonoreesThe WCA Lifetime Achievement Awards will be held at the DoubleTree by Hilton on Saturday February 24, 2018 in downtown Los Angeles. The event will include a cash bar from 5:00-6:00 pm, ceremony 6:00-7:30 pm (free and open to the public), and a celebration dinner 7:30-9:30 pm (ticketed). Buy a ticket to the dinner to meet and mingle with the honorees!

By Suvan Geer

Lee Bontecou’s mantra is freedom – what she describes as “all freedom in every sense,” so it is not surprising that her art, like her career, cannot be slipped into narrow categories. She is a dedicated artist, a confirmed experimenter and sculptural pioneer. Also and equally she is a mother, wife, and educator. One of the few women artists to receive critical attention in the 1960s for her powerful welded steel wall reliefs, her work remains singularly original, physically impressive, and layered with multiple allusions that engage the mind and the emotions.

Born in 1931 in Providence, Rhode Island, and raised in Westchester County outside New York, Bontecou spent her summers with a grandmother on an island in Nova Scotia absorbed in the diversity of the natural life forms around her. But growing up during WWII she was also familiar with this nation’s fevered war industry. Her father worked building gliders for the military and her mother assembled submarine transmitters at a war plant. Postwar she was immersed in this recovering country’s conviction that science and technological advancement were the hallmarks of progress. The conflict between the natural world and the insatiable engines of war and industry became an enduring thread in her artistic outpouring.

On a Fulbright Fellowship in Rome in 1956, Bontecou sculpted abstracted animal and bird

forms elegant for their sense of elongated motion. She also learned she could use her blowtorch with the oxygen turned down to paint rich blacks with soot, a reference to industrial residue that would be a central part of many of her drawings and wall mounted sculptures. After returning to New

York, she began experimenting with increasingly large frameworks of welded metal covered with laboriously hand stitched pieces of stained canvas and fragments of mechanical waste. In 1959, her work captured the attention of Donald Judd, who became one of her earliest supporters and essayists. In 1960, she had her first solo show at Leo Castelli Gallery in New York joining Judd, Frank Stella, Roy Lichtenstein, and Jasper Johns in that gallery’s stable of notable artists.

Bontecou’s justly celebrated sculpture of the 1960s made the raw materials of factories into gritty, formal abstract reliefs. Boldly pushing out from the wall, sometimes as much as three feet, they added a dynamic 3rd dimension to painting’s flat,

Lee Bontecou, Pennsylvania, 2014, Photo credit: Bill Maynes

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2018Lifetime Achievement Awards

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illusionary space. It was a move that animated her compositions, literally fracturing and uplifting the pictorial space while adding allusions to thrusting waves, heaving landmasses, propelling engines, or threatening maws. Perhaps it was this sense of upheaval linked to growing critical theory about the power of the female body that made her work so suggestive to the feminist movement of the time, even though the artist resisted those associations.

Bontecou saw her wall works as capturing her animosity toward a natural world being reshaped by rapid technological development in the wake of WWII and the ongoing Cold War and Vietnam conflicts. Even in her drawings from the 60’s her grimy grounds are pierced by suggestive black holes of infinite, unsettling space that seem to actively absorb light–pulling inward, even as the broken surface landscape strains forward.

In 1970, after creating disturbing, now almost prescient experimental works that re-imagined the natural world’s creatures transformed into vacuformed plastic artifice, Bontecou decided to leave the confines of the New York gallery scene. She wanted to follow her own concepts of sculpture’s expansive scope. It was a move that also gave her the artistic freedom to take years on individual works while teaching at Brooklyn College. The results, seen in her recent sculptures are marvelously balanced, incredibly delicate futuristic forms made of thin welded steel, small porcelain orbs, wire mesh, wire, and thin canvas. As sculptures they are drawings improbably made in space. And they continue to suggest the multiple associations that make her work compelling. Some appear to swirl like galaxies seen in deep space. Others suggest moving hybrid organic/mechanical vehicles. In their expanding forms we see the dark, eye-like openings of her earlier drawings and wall reliefs exploded into our space in ways that exude both innate freedom and wonder at the inherent order within the scale and chaos of the universe.

Suvan Geer is an artist writing about art for publications such as Visual Art Source, Sculpture Magazine, the Los Angeles Times, Artweek, Public Art Review, and others.

By Betty Vine

For most of her career, Lynn Hershman Leeson was told “no.” Curators said her contributions simply were not art. They took her exhibits down prematurely or declined to display them at all. Because it incorporated technology, because it involved new media, it was automatically disqualified from the nebulous category of “art.” But Hershman Leeson was not dissuaded. She continued to challenge aesthetic boundaries; she doggedly made her art as an act of rebellion against patriarchal dictates. When critics wouldn’t give her the time of day, she created three fictional aliases with which to review her own art. This in itself says something about the creative maneuvering a woman must do to cultivate influence in a male-dominated world.

Now in her seventies, her work is finally getting the recognition it deserves. All along, she has used modern technologies to explore the question of what it means to be human in a digital world. She was remarkably prescient of contemporary themes currently on the tips of everyone’s tongues: surveillance and privacy, identity-making, virtual realities, voyeurism. Hershman Leeson takes special care to ensure that her audience is not merely a passive observer, but instead an active participant. Her work has featured touch screens (Deep Contact, 1984), interactive LaserDisc videos (Lorna, 1983), periscopic eye-tracking equipment (A Room of One’s Own, 1990-93), and more. In one of her most recent exhibits, Infinity Engine (2013-14), she worked with scientists to build a “functional replica of a genetics lab” (according to her website, www.lynnhershman.com). Again, viewers were brought into the fold through the use of facial-recognition technology.

In perhaps one of her most well-known projects, she adopted a fictional persona known as Roberta Breitmore (1974-78). It was essentially an act of performance art that lasted for five years, and it

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involved some of the most quotidian activities of modern life—including Weight Watchers memberships, doctor’s appointments, and driver’s license applications at the DMV. Just as she blurs the lines between viewer and participant, Hershman Leeson entangles the boundaries between art and artist. She highlights the extent to which our identities are built from the trivial minutiae of consumerism.

Beneath Hershman Leeson’s oeuvre is an undercurrent of social justice: she is preoccupied with the real world consequences and implications of the subjects she tackles. Strange Culture (2007), one of her four feature films—all of which she produced with almost no formal training—played a role in exonerating a fellow artist from a federal prison sentence. Another of her works, America’s Finest (1993-94), explores gun violence in the United States. She wrote a piece for Sloan Science & Film last year entitled “On the Cusp of Disaster,” in which she describes America’s Finest as “…an interactive rifle with a surveillance system that allows you to see the past and the future simultaneously. The action of pulling a trigger implicates the viewer and converts them from viewer to voyeur, from aggressor to victim.” Similarly, Home Front uses a perpetual video loop to raise awareness about domestic violence.

Hershman Leeson’s art has long prophesied the ways that technology will shape our lives. More than this, her art has evolved alongside these innovations. Incidentally, she became interested in new media by sheer accident. According to her essay in Sloan, a mishap with a Xerox machine resulted in the “[emergence of] a shredded and deformed creation … it was born pulsing a different life than when it went into the machine. It was a far better artwork in this transformation because it was unique.” It’s an apt metaphor: when one enters into the machine of her art, we’re left pulsing with a different life than before.

Betty Vine is pursuing her MFA in Writing at the Savannah College of Art & Design and is based in Austin, Texas.

Lynn Hershman Leeson, Roberta Breitmore Construction Chart, dye transfer, 1974

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By Betty Ann Brown, Ph.D.

Gloria Feman Orenstein is the quintessential feminist scholar. Always rigorous, insightful, and intriguing, her work has broken new ground in three important areas: women artists of Surrealism, ecofeminism, and feminist spirituality. Her books articulate the symbiotic relationship between these, from her early Theater of the Marvelous: Surrealism and The Contemporary Stage (1975) to Reweaving the World: The Emergence of Ecofeminism (1990) to The Reflowering of the Goddess (also 1990).

Orenstein was born in New York in 1938, and has commented, “I discovered my birthday is on International Women’s Day, but I had no idea that in 1980 and 1985 I would attend conferences on women for the U.N. Mid-Decade and End of Decade gatherings in Copenhagen and Nairobi.” She married physicist Steve Orenstein in 1958. The couple had two daughters: Nadine, who became a curator at the Metropolitan Museum; and Claudia, now a professor of Theater at Hunter College. There are now two grandchildren: Caleb Carman, a pianist and a student at Bard and Sophie Carman, who attends high school on the campus of Lehman College.

Orenstein went on to pursue a Ph.D. in Comparative Literature at New York University. Her 1971 dissertation was developed into the book on women Surrealists. She taught for years at Rutgers and then at the University of Southern California (where she secured tenure with the support of a glowing recommendation from Simone de Beauvoir). One of her proudest accomplishments was founding The Woman’s Salon for Literature in New York, which lasted from 1975 to 1985.

As part of her dissertation research, Orenstein interviewed British-born Surrealist Leonora Carrington. The two developed a deep and abiding friendship that lasted until Carrington’s death in 2011 at the age of 94. Orenstein published many of her pioneering articles on Surrealist women in the Feminist Art Journal. Orenstein has written on

Jewish women artists and the Torah. She also has written about contemporary artists Jean Edelstein, Nancy Macko, Vijali Hamilton, and Suzanne Benton, among many others. Her 1993 book Multi-Cultural Celebrations was about Oregon painter Betty LaDuke, whom she described as “visionary.”

One day when Orenstein was visiting Leonora Carrington, the artist told her, “The Shamans of Lapland just happen to be the most magical people on earth.” Years later, when Norwegian sociologist Berit As came to the US, bringing a Lapland Shaman with her, Orenstein was thrilled. Writing about her times with the Shaman both here and later in Lapland, Orenstein asserted, “I heard the voices of the ancestors from the Otherworld call me by name in the middle of the night, and I heard them again after I visited the Sami [Laplandish] Sacred Site. Thus I learned that the spirits of the deceased are alive in another dimension, are able to observe us, and can often make contact.”

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Renée StoutRenée StoutOrenstein’s own words make a fitting conclusion:

While my life has had its challenging moments and I have traversed many a dark woods in my quest for knowledge, I am fulfilled by the wondrous journeys I have made to the realms of the Marvelous, the Magical, the Great Goddess and the Shamanic Mysteries, and I will be forever grateful to the teachers who inspired me and to the feminist activists on whose strong shoulders we now stand as we welcome new generations of visionaries expanding our feminist legacy into the new millennium.

Gloria Orenstein is an incredibly generous and loyal friend and colleague, and an impressively accomplished scholar. She has lived her feminist truth both here and abroad as mother, professor, social activist, and spiritual seeker.

Betty Ann Brown is an art historian, critic & curator. She is Professor Emerita at California State

University Northridge.

By: Chryssie Therese Lewis

Renée Stout is a contemporary artist who explores the interweaving of African and African American cultures in her work. She was born in 1958 and was raised in Pittsburgh, Pennsylvania. Stout had a passion for art from the age of three, and she earned her BFA from Carnegie Mellon University in Pittsburgh. Stout is known for creating work that embodies her exploration of her heritage. Originally, her work focused on photo-realistic paintings of urban life but when she moved to

Gloria’s Call In 1971, graduate student Gloria Orenstein received a call from Surrealist artist Leonora Carrington that sparked a lifelong journey into art, ecofeminism, and shamanism. Dr. Orenstein’s presentation at the Surrealist Tea organized by the

Southern California chapter of the WCA in October 2016 sparked the idea to make a film of her experience. The result, Gloria’s Call, uses art, animation and storytelling to celebrate this wild adventure from the cafes of Paris to the mountaintops of Samiland. The film is produced by artists Cheri Gaulke (director), Cheryl Bookout, Anne Gauldin, Sue Maberry and Christine Papalexis with funding from the Southern California chapter of WCA.

Gloria’s Call will be screened on Friday, February 23 at the WCA@CAA Reception from 12 to 1:30 pm at the LA Convention Center Room 501 B

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Washington, D.C. she delved into African culture. She conducted a deep investigation of African cultural and spiritual practices, including Voodoo. The practice of Voodoo originated in Africa and was brought to the Americas and the Caribbean by way of the slave trade. It is a combination of Catholic, African, and Native American traditions which uses materials like bones, roots, feathers, wood and herbs for spiritual purposes. Mainly, Voodoo united enslaved people as a means of physical, emotional, and spiritual healing as well as a way of creating heritage. Stout has incorporated this heritage into her work.

In an interview for Carnegie Mellon University, Stout said, “When I make art, I have a need to process my life’s experiences in a way that makes them tangible.” Her history and her life story have a rooted connection embedded within her that influences the way she sees and makes her art. She has produced a plethora of prints, sculptures, and collages that display the human condition with particular focus on the African American experience. One sculpture in particular entitled Erzulie Dreams is a work of genuine beauty. It was inspired by the Haitian deity Erzulie, the goddess of love, motherhood, and procreation. In addition the piece took elements from the Yoruba deity Oshun who is the goddess of love, wealth, and beauty. A mixed media piece containing materials used in the practice of Voodoo, it focuses on another side of the societal norms of American beauty. What this sculpture represents is inspiring. It features the head and torso of a middle-aged Black woman. She is wearing neck rings that are indigenous to some African and Asian cultures, used to create the appearance of an elongated neck. She is adorned with feathered and wooden beaded earrings and a shoulder piece that uses the same material. The torso is attached to a desk with the effect that the woman is put on display, but the desk can also serve as an altar. Within a desk drawer are beaded hearts suggestive of fertility or of Erzulie’s power and love to spread to all who pay reverence to her. Her eyes are closed to suggest that she is dreaming. That she does not meet the viewer’s gaze allows one to construct a personal interpretation of the figure. In this and other works, Stout provokes awareness of values that are sometimes overlooked in white-centered society.

Stout remarked in the interview quoted above, “I also hope what I’ve left behind contributes to telling the story of our times, helping future generations to make sense of it all.” What this has taught me is that it is important to know who we are and where we have come from. That knowledge can teach us more about ourselves and therefore can strengthen our truths, values, and beliefs. Stout has taught me, a young Black woman, the importance of deepening my knowledge of myself. With that understanding I can, without fear, use my passion to shape and influence the world.

Native to Trinidad and Tobago, Chryssie Therese Lewis is pursuing her M.F.A. in Performing Arts at the Savannah College of Art and Design.

Renée Stout, Erzulie Dreams, 1992. Photo: Travis Fullerton. Virginia Museum of Fine Arts, Richmond. Kathleen Boone Samuels Memorial Fund © Virginia Museum of Fine Arts

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Art Speaks! Lend Your Voice

The 2018 national conference exhibition runs February 22 to March 10, 2018 at Arena One Gallery in Santa Monica. Juror Jill Moniz selected artworks by 63 artists from across the country to weave a powerful visual narrative. She remarked, “I curated Art Speaks! around the idea of developing a visual language for the art of speaking. I was drawn to a powerful through line of aesthetic choices that reference the sublime nature of women’s work – from the abject to the exquisite. These works represent the arc of creative innovation through materials and quiet yet powerful narrative compositions that together offer a new reading of a fluid, mutual coordination of visual communication.”

Participating artists: Jayne Adams, Kathy Aldous-Schleindl, Shula Arbel, Jenny E. Balisle, Sharon Barnes, Yvonne Beatty, Linda Basha Brookshire, Janine Brown, Lorraine Bubar, Julie Carcione, Michele Colburn, Constance Culpepper, Liz Dodson, Laurie Edison, Beth Fein, Clairan Ferrono, Kim Foley, Megan Frances, Ellen Freyer, Dwora Fried, Christine Giancola, Amy Gilvary, Betty Green, Susan Harmon, Shelley Heffler, Mary Kamerer, Veda B Kaya, Linda Kunik, Esther Kwan Simon, J. J. L’Heureux, Beth Lakamp, Lynda Levy, Charity Malin, Aline Mare, Robbin Milne, Lena Moross, Sandra Mueller, Mary Nash, Melissa Reischman, Lynda A. N. Reyes, Samuelle

Richardson, Julia Rigby, Karrie Ross, Orly Ruaimi, Linda Jo Russell, Marilou Ryder, Seda Saar, Sondra Schwetman, Jacqueline Secor, Rebecca Setareh, Doni Silver Simons, Kerrie Smith, Stephanie Solomon, Leona Strassberg Steiner, Nathalie Tierce, Linda Vallejo, Elise Vazelakis, Arika Von Edler, Elizabeth White, Holly Wong, Joan Wulf, and Tina Ybarra.

Joan Wulf, De-Code, 38 inches x 38 inches, fire, metal, water, pigment and canvas, 2017

Ellen Freyer, Liberte, Fraternite, Beyonce, archival inkjet print, 12 x 18 inches, 2014

Shelley Heffler, Urban Decay, acrylic on canvas, 42x24x12 inches

The 2018 WCA Annual Conference will be held at the DoubleTree Hotel in downtown Los Angeles, February 22–24, 2018. Days will be filled with networking, awards, receptions, art crawls and panels plus WCA Chapters’ Council and Caucus meetings. Added highlights include the “SmartPhone Video” and “Writing for Artists” workshops and the Bus Tour to 18th Street Arts Center for studio visits with artists Carmen Argote and Lita Albuquerque at the historic home of the Dinner Party before continuing onto the Art Speaks! Lend Your Voice exhibition.

WCA’s presentions at CAA include the “Linda Nochlin In Memoriam”panel on Thursday and

the“Recipes for Revolution from Feminist Artists of Color” panel on Friday. Friday evening ArtShare LA in the Arts District will host YWC’s “Reality Sandwiches” reception followed by an evening of curated performances. The Feminist Art Project sponsors a day of panels at the Museum of Contemporary Art on Saturday and then it’s time for the the LTA Awards Ceremony and Dinner on Saturday evening.

Tickets for the bus tour, performances and awards dinner are included in conference packages available at nationalwca.org. Be sure to book your discounted rooms by January 31 by calling the DoubleTree at 800-222-8733.

2018 WCA Annual Conference

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Conference Schedule Feb 22-24, 2018Conference Hotel: DoubleTree by Hilton Los Angeles Downtown 120 South Los Angeles Street, Los Angeles, CA 90012 213.629.1200

Registration page for conference and LTA tickets: www.nationalwca.org/applicants/tickets.php

Online schedule: go to www.nationalwca.org and click on “Conference” then “2018 Conference”

Thursday, February 24—First Day of Conference

7:30–11:30am WCA Conference Registration DoubleTree Los AngelesCalifornia Room Foyer120 S Los Angeles StreetLos Angeles, CA 90012

8:00–9:00am Welcome with President Susan King DoubleTree Los Angeles California Room

9:00am–6:00pm WCA Book Table at CAA Book Expo LA Convention CenterBooth 517, Concourse Hall EF

9:00–11:45pm Chapters' Council (open to all members) DoubleTree Los Angeles California Room

10:30am–12:00pm Linda Nochlin Memorial Session, Margo Hobbs and Maura Reilly, co-chairs

LA Convention CenterCAA Ticket Required

12:30–1:30pm WCA Conference Registration reopens DoubleTree Los AngelesCalifornia Room Foyer

1:00–2:30pm JWAN Caucus Meeting DoubleTree Los Angeles California Room

3:00–8:00pm WCA Bus Tour Studio Visits & Art Speaks Reception

18st Arts CenterSanta Monica

5:00–7:00pm Art Speaks! Lend Your Voice Public Reception Arena One GallerySanta Monica Airport

8:00pm Return to Hotel with dinner on own Little TokyoDowntown LA

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Friday, February 23—Second Day of Conference

9:00am–6:00pm WCA Book Table at CAA Book Expo LA Convention Center Booth 517, Concourse Hall EF

8:30–10:00am WCA Workshop “Smartphone Video” with Kim Foley

DoubleTree Los Angeles California Room

10:00–11:30am WCA Workshop “Writing for Artists” with Nancy Spiller

DoubleTree Los Angeles California Room

10:30am–12:00pm WCA @ CAA Panel “Recipes for Revolution from Feminist Artists of Color,” Jacqueline Francis & Tina Takemoto, Co-chairs

LA Convention Center Room 501 BCAA Ticket Required

12:00–1:30pm WCA@CAA Reception with “Gloria’s Call” Screening

LA Convention Center Room 501 B

2:00–4:00pm Downtown Art Crawl / ICA, Galleries, MOCA, etc LA Convention Center Room 404 B

4:00–5:30pm TFAP Panel “Feminist Art in Response to the State”

LA Arts District

5:00–6:00pm Young Women’s Caucus Meeting ArtShare LA801 E 4th Pl, LA 90013

6:00–7:00pm Reality Sandwiches Reception ArtShare LA801 E 4th Pl, LA 90013

7:30–9:00pm Art Speaks: An Evening of Performance Art with Zoë Charlton, Curator

ArtShare LA801 E 4th Pl, LA 90013

Saturday, February 24—Last Day of Conference

8:30–10:00am WCA International Caucus Meeting DoubleTree Los Angeles California Room

9:00am–12:00pm WCA Book Table at CAA Book Expo LA Convention CenterBooth 517, Concourse Hall EF

10:00–11:30am Eco-art Caucus Meeting (Marcia Wood,Chair) DoubleTree Los Angeles California Room

10:00am–4:30pm The Feminist Art Project (TFAP) Panels MOCA Auditorium250 S. Grand, LA 90012

5:00–6:00pm LTA Welcome Hour with Cash Bar DoubleTree Los AngelesGolden Ballroom Foyer

6:00–7:30pm Lifetime Achievement Awards Ceremony(free and open to the public)2018 Lifetime Achievement Awardees: Lee Bontecou, Lynn Hershman Leeson, Gloria Orenstein, and Renée Stout

DoubleTree Los AngelesGolden Ballroom

8:00–9:30pm Lifetime Achievment Awards Dinner & Silent AuctionTicketed event, included in conference packages

DoubleTree Los AngelesThousand Cranes(rooftop room & gardens)

Sunday, February 25—National WCA Board Meeting

9:00–2:00pm (Members are welcome to attend) DoubleTree Los Angeles Los Angeles Room

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Celebrating women’s achievements in the visual arts since 1979.

WCA Annual Lifetime Achievement AwardsSaturday, February 24, 2018 For tickets and info, go to: www.nationalwca.org

P.O. Box 1498Canal Street StationNew York, NY 10013

PRST STDU.S. Postage

PAIDIPC

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Celebrating women’s achievements in the visual arts since 1979.

WCA Annual Lifetime Achievement AwardsSaturday, February 24, 2018 For tickets and info, go to: www.nationalwca.org

P.O. Box 1498Canal Street StationNew York, NY 10013

Non-Pro�t Org.U.S. Postage

PAIDVivid InkGraphics